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During the many years of his connection with the Hochschule, Joachim's personal influence has been exerted upon a large number of pupils, in fact almost every well-known violin player has been to Berlin to seek his advice and instruction, and the players he has perfected are almost without number.
But at the Hochschule the Joachim bowing was compulsory: they taught, or tried to teach, all who came there to use it without exception; boys or girls whose arms chanced to be long enough could acquire it, but big men with short arms had no chance whatever.
"If one known pupil of Joachim," he wrote, "will appoint a meeting to interview me on the subject, I shall be glad to continue it." But the one known pupil did not come. The complaint of Mr. Burmester, that the one idea at the Hochschule is technique, is not new by any means.
In 1866 the troubles which enveloped Germany brought Joachim's engagement in Hanover to an end, but two years later he entered upon what has proved to be the most important part of his career, when he was appointed professor of violin at the Hochschule for music in Berlin.
Wirth was the viola of the Joachim Quartet, and probably a better teacher than was Joachim himself. Violin teaching was a cult with him, a religion; and I think he believed God had sent him to earth to teach fiddle. Like all the teachers at the Hochschule he taught the regular 'Joachim' bowing they were obliged to teach it as far as it could be taught, for it could not be taught every one.
"And this applies to every student of the instrument, whether or no he has a long arm. While I was studying in Berlin, Sarasate played there in public, with the most natural and unhampered grace and freedom in the use of his bow. Yet the entire Hochschule contingent unanimously condemned his bowing as being 'stiff' merely because it did not conform to the Joachim tradition.
This announcement brought forth a deluge of letters from "pupils of Joachim," and in a couple of weeks Burmester wrote another letter stating that he did not know the Hochschule had as many pupils as those who had claimed Joachim as their teacher, and who were all unknown.
In those days pupils of the fair sex were not admitted to the Hochschule, and Miss Shinner began to study under Herr Jacobsen. It happened, however, that a lady from Silesia arrived at Berlin, intending to take lessons of Joachim, but unaware of the rules against the admission of women to the Hochschule. Joachim interested himself in her, and she was examined for admission.
Of course, there is no question but that Joachim was the greatest quartet player of his time; and with regard to the interpretation of the classics he was not to be excelled. His conception of Bach, Beethoven, Mozart, Brahms was wonderful. The insistence at the Hochschule on forcing the bowing which was natural to him on all others, irrespective of physical adaptability, is a matter of regret.
At the age of fourteen he had already made a successful concert tour, and become chamber virtuoso to the Duke of Coburg-Gotha. He then abandoned the musical profession and entered the army, fighting in the Italian campaign as lieutenant. After the war he returned to his profession, and became leader of the royal band in Berlin and professor at the Hochschule. He died in 1892.
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